Driven by strong performances, sharp direction, and clever use of social media, SINGLE WHITE FEMALE is a tense, modern psychological thriller.
Updating a well-known psychological thriller, whilst still keeping the bones of the work is a path fraught with danger. However in this updated adaption of SINGLE WHITE FEMALE, Rebecca Reid has worked well to keep the taught thriller on point, under the direction of Gordon Greenberg, whilst allowing the now dated themes of the film and book to be brought into the 21st century. The play keeps the same ideas of loss, jealousy and obsession and lays them out before a modern audience using the insidious use of social media as a vehicle to great effect.
The story remains the same; Allie, a woman post-divorce, decides to advertise for a lodger and gets a lot more than she or those around her bargained for in the form of a flatmate stalker who manipulates all around her. Lisa Faulkner plays the divorcee well with a naivety that blinds her to the possible red flags on display. However, the meat of the play rests solely with Kym Marsh as Hedy, who is malevolent, scheming and devious to the point of deliciousness. The audience can see what is going on, and Graham, Allie’s friend and business partner, played by Andro, starts to realise something is not right. Despite his warnings, Allie still ploughs blindly on, leading to the complete demolition of Allie’s world. Matters are not helped by Allie’s ex-husband, Sam, played with adequate sleaze and self-centredness by Jonny McGarrity, and despite the peripheral nature of the two male characters, they come into their own in the final scenes.
The play is a cautionary tale in the modern world with social networks creating a stalker’s paradise and this is very much evident in the depth to which Allie’s daughter, Bella, played with great depth by Amy Snudden, conveys the angst of modern day teenage life played out over social media.
The lighting designed by Jason Taylor works well with Max Pappenheim’s sound and under Layla Madanant as the production’s resident director the quality of presentation is both excellent and evocative. Coupled with a set designed to be a typical apartment by Morgan Large and excellent fight direction by Kaitlin Howard the play is as visually pleasing as it is intense.
It would be easy to create a pastiche of every “bad girl” noir that had been produced before. A tale of jealousy and fixation that overplays the dramatic, but this does not. It is measured, pacey, and, above all, mesmerising to watch. Yes, the audience can see the plot of Hedy unfolding, but it is not a stale rendition. It has bite, momentum and a smattering of humour even in its darkest moments.
SINGLE WHITE FEMALE is an extremely good updated adaptation. It has tension and pathos. It has familiarity and shocks. It is an outstanding piece of emotional and psychological theatre.
SINGLE WHITE FEMALE runs at the Opera House, Manchester, until 14 February 2026
Gillian has a Masters degree in Film Theory and a background in music journalism. A veteran of gig promotion, she loves nothing more than a darkened room, a packet of Revels and a good play. By day she works in medico-legal administration, by night she escapes into theatre for relaxation.
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